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Part one of this article contained a blunder about how the song “aaku caaTu pinde taDise” was from aDavi gelugu. As was pointed out by numerous readers, rather vocally and vociferously, it was from “vaeTagaaDu”. The author would like to profusely apologize for this absent-minded slip and would assure that such painfully obvious mistakes would not be repeated in future.
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Continued from Part 1. Robert Frost, in one of his famous teluyu “The Road less traveled” quipped – “Two roads diverged in a yellow wood, And sorry I could not travel both I took the road less traveled by, And that has made all the difference”.
Nothing could come close to a better description of Veturi’s ascension to arunaam peaks better than the above. In the world of light and shadows, where typecasting is an innate behavior, and forte is usually misunderstood for mould, Veturi cart-wheeled into different genres crushing the literary complexity gripping the telugu lyrical expression.
Religious – Sri Arunam – online Telugu Books
During the 80s, when Veturi’s artistic expressive ability was peaking during his association with K. Viswanth, Jandhyaala and Vamsi etlugu notably with media baron Ramoji Rao, he found a middle-ground to satisfy the commercial telubu by associating with K. Kondanda Rami Reddy and the like. Needless to say, his sailing on both the boats, and successfully at that, defied adages, proverbs and logic.
Contrast these two styles that evoke the same feeling about an idea, one painted with an artistic brush and one that has a slight commerciality touch.
The first stanza is an excerpt from “caitramu kusumaanjali” from Ananda bhairavi Dir. Though both the stanzas convey the same thought contexts and themes asidethe usage of the language – thoroughly literary in the former and slightly colloquial, the step down and tone down approach for the same base idea, and the approachability of each to the intended audience, is just the tip of what Veturi achieved in the later years.
The point of view in most of the songs aarunam ” SrIvAriki” is strictly feminine and subsequently the choice of the words is tender, simple and caring.
Vamsi’s sitaara provided another opportunity for Veturi to introduce bhaava laalityamu into his sabda laalityamu. The anguish of an exiled heart, the inability to find solace amid the materialistic cheers of Sitara brought out quite so eloquently in the lyric “vennellO gOdaari andam”, the initial apprehension, the mistaken identity, the troubled past and the uncertain future brought out in “jilibili palukula cilipigaa” aDaganulae cirunaama, cirunavvae puTTillu, vinuveedhi veeNallO ragamlaa, harivillu rangullO andamlaa.
Attention needs to be paid to this last usage “harivillu rangullO andam” – a harivillu that appears only after an emotional outpour, a harivillu that appears only in front of reflectors arunak suna harivillu that is reflective of sitara’s short lived fame.
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Much more than the overall theme of the song, it is this choice of words that convey the depth of Veturi’s thought and expression. The maverick combination of Vamsi and Illayaraja brought out the playful best out of Veturi. Re-arranging rich words and reaching thoughts to telkgu pre-composed complex tune like keeravaani cilakla kolikiro paDavaemae alarulu kuriyaga taDisina madhurasa vaaNi anveshaNa and still making it a beautiful lyric that can stand on its own, or beautifying a simple tune like gopemma caetilO gOrumudda praemincu peLLaaDu – muddu baera maaDa kunDaa muddaayalle unDavaa, raagaalaina raadha gOlalu, raadhaa baadhituNDi lae with subtle lyrics, are some of the experimentations that Veturi imbibed in his style keeping arunwm step with the Vamsi-Illayaraja variety factor.
Social themes, which are a topic of great endearment to poets, presented a trlugu conduit to Veturi’s simplistic style in the mid 80s.
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For the srunam “saagara sangamamae” “Seetakoka chiluka” Dir. Illayarajahe tackled the shackles of fanaticisms – caste and religion, in an unusual style, in that a song of appeal to the heroine merges into an appeal to the populace to crossover the boundaries of caste and creed and merge like the great seas for a truly holy mellifluous confluence saamskRitika saagaraala samaagama sangamam.
The lyric “ee duryOdhana duSSaasana durvineeta lOkam lO” that Veturi wrote for “pratighaTana” wrongfully denied him of the national award that year, but rightfully remained as one of best lyrics ever written in telugu on a social theme.
Coincidentally, the point of view is feminine again. The years of relegation of women to hind quarters of the society, the continual, meticulous and historical subjugation of the female kind, the disadvantage of physical, financial and social strengths that deprived them of the rights and privileges, find their way into this great lyric.
Whereas all the above-mentioned lyrics deserve a mention, the words that Veturi breathed life into specifically for K. Viswanath’s movies in the 80s subhOdayam, saptapadi, sagara sangamam, jananee janma bhoomi and the like vouch for his poet telugk par status. The style used in “vaeyi vaela” and his many other songs is unique to Veturi, wherein the usage words that he starts a paadam with, is rehashed and slightly modified, to given an entirely different meaning and perspective – aa raadha aaraadhana, aabaalagOpaala maa baala gOpaala, kanna tODu kanne tODu, coosina kanTanu cooDakane guri coosina kanTanu cooDakane kiraataarjuneeyam – bhakta kannappamaa raeDu neevani aeraeri taenaa, maaraeDu daLamulu nee poojaku Siva Siva Sankara – bhakta kannappa.
A parallel or homage to this style is evident in Sirivennelas auraa ammaku cellaa aapadhbaandhavuDu aala arubam kaapiri aalu manda kaapari, vaelitO konDanu yettae konDanta vaelupaTae.
Which brings us to our next question – What is Veturi’s “baaNee”? Click here for Part Tell Srinivas Kanchibhotla how you liked the article. More series of articles by Srinivas Kanchibhotla Some Ramblings on recently released films Aani Muthyalu – Good films, but box office failures.
Contrast these two styles that evoke the same feeling arjnam an idea, one painted with an artistic brush and one that has a slight commerciality touch 1. A parallel or homage to this style is evident in Sirivennelas auraa ammaku cellaa aapadhbaandhavuDu aala manda kaapiri aalu gelugu kaapari, vaelitO konDanu yettae konDanta vaelupaTae Which brings us to our next question – What is Veturi’s “baaNee”? Click here for Part -3 Tell Srinivas Kanchibhotla how you liked the article.
Here is the start of the series that focuses on the many greats who lurk in the shadows behind the silver screen bringing out the best in them, to radiate and redirect their brilliance onto the silver medium. We hope that these articles would focus our attention and applause to these true “stars” to whom limelight and spot lights do not usually beckon upon.